Photo courtesy of Sami Elahi
An innovative, reflective and historical evening of musicianship was presented on Thursday evening at the Kennedy Center’s Terrace Theater as the renowned mezzo-soprano Susan Graham and the exciting Music from Copland House ensemble performed modern works with fervent zeal and finesse.
The evening opened with Pierre Jalbert’s vivid musical work Crossings. This beautiful piece deconstructs a lyrical French-Canadian folk song Quand j’ai parti du Canada (“When I left Canada”). The result is a very intriguing and authentically inspired musical piece by Jalbert.
According to program notes, Jalbert was interested in the migration of French speaking people from France to Quebec and other parts of Canada in the 17th Century, and then from Canada to the United States in the nineteenth and early twentieth centuries, which represents his own family history.
The main section of the piece has Suliman Tekalli playing enticingly on violin in the reflective middle section of the work. Cellist Alexis Pia Gerlach, clarinetist Benjamin Fingland, flutist Carol Wincenc, and pianist Michael Boriskin were the other stellar members of Music from Copland House supporting the vibrant music of this piece.
Crossings opens with a fiery feel and the flute predominating. The second movement is mesmerizing and quiet with a sense of placidity. (Piano by Michael Boriskin is played with a nice quiet rhythm). All the musicians integrate in one seamless ensemble and yet show individuality and style.
Sounds of nature fill the piece as the flute and clarinet make very natural sounds. A well-imagined “minds-eye” fills the heart and soul with the imagery of a journey in this well-chosen exploratory work.
Modern composer John Harbison’s “Selections from Songs America Loves to Sing” was an eclectic and musically witty treat from the Music from Copland House ensemble. The unique creativity of Harbison was brought to bear on several well-known standards.
The beloved hymn “Amazing Grace” was totally re-felt as a newly conceived piece. This soothing hymn was re-energized and transitioned nicely into very inventive reconceptions of “Aura Lee”, “What a Friend We Have in Jesus”, “We Shall Overcome”, “Ain’t Goin’ to Study War No More” and “Anniversary Song”.
The well-remembered melodies of these songs provided a framework for the musical novelty and departure by composer Harbison and by the fine musicians assembled here from Music from Copland House.
The overall effect was alternately humorous, earthy, and full of invention.
Act Two brought the audience the inspired and moving instrumental composition “A Standing Witness” —which was written in 2020.
This was an historic event as the acclaimed composer of this work, Richard Danielpour, and the esteemed author—American poet Rita Dove— were in the audience. They received deserved lengthy applause for this collaboration with renowned mezzo-soprano Susan Graham.
Ms. Graham’s gorgeous and resonant voice enveloped and caressed the descriptive words and phrases of this musical work with élan. Ms. Graham’s tone was warm yet, concurrently, fully in command of the vivid and urgent imagery in this effective and lengthy poem.
Ms. Graham’s voice thrilled as she sang through the prologue, epilogue and the thirteen testimonies/poems and refrains of this ambitious work with emotive control and sensitive understanding. Ms. Graham’s voice was an excellent and inspired match for the music of Mr. Danielpour and the writing of Ms. Dove.
The Statue of Liberty bears witness to the myriad dramas and cultural lodestones of the last half-century in the writing of author Rita Dove. Questions arise as to what does the future hold for the American Dream—-where are we going and what have we witnessed?
Ms. Dove writes with a visceral urgent and pleading imagery that is biblical in cadence at times yet very aptly of the cultural moment at other times. I felt an almost apocalyptic edge to the piece. It was intriguing to discover what themes Ms. Dove decided to explore in this very relevant work. (This evening was the forty-second anniversary of the takeover of the American Embassy in Iran —so the tenth testimony/poem of this work —which was performed instrumentally —was particularly timely).
Mr. Danielpour’s music is the seed from which this exciting new work A Standing Witness blooms and it is a veritable feast of moods showcased by the Copland House ensemble. (It was a wonderful choice to have the addition of the viola in this piece to add more texture —-the violist was Ms. Melissa Reardon).
The Copland House ensemble superbly performed Mr. Danielpour’s music from the elevated highs to the moodier depths, but I feel compelled to cite the flute of Ms. Wincenc as a singular charm. Mr. Boriskin’s piano mastery was a steadfast anchor to the evening’s proceedings.An intriguing and historic evening at the Kennedy Center.
Running Time: One hour and fifty minutes with one fifteen-minute intermission.
Susan Graham and Music from Copland House was presented on November 4, 2021 at 7:30pm at the Kennedy Center’s Terrace Theater, 2700 F Street NW, Washington, DC 20566.